Registered under the National Arts Council of Zimbabwe

16 September 2020

WIN Newsletter, Vol 2, Issue No 14


 EDITORIAL

 

Go Well Writer: David Sunny Mungoshi (1949-2020)

 

  

he work WIN continues to do is commendable, thanks to its committed membership and resilient coordinator, Beaven Tapureta, who, together with the board members, continue to run a platform that provides a necessary creative outlet for all of us. 

This newsletter comes out just a few weeks after the death of a literary icon, David Mungoshi, a generous mentor and ambassador of pan African literature. It is thus fitting that many pages here celebrate his life. He was an accomplished teacher, a fantastic writer, a supporter of the WIN initiative and a mentor who was generous with his time, willing always to meet you half way and challenging you to show your very best in every draft.

This year has been challenging, disrupting our plans and cancelling all in person activities that often provide growth for writers. But WIN has remained steadfast, utilizing the Whatsapp group to stay connected and interactive. At a time when many initiatives have folded, WIN has persisted in publishing this newsletter, which continues to raise the bar on quality of writing and content.

Here is another rich read which will inspire you to continue writing. The year might be grim, but it is time for our creativity to grow and for each of us to "live like an artist", as David Mungoshi reminds us.

 Professor Emmanuel Sigauke, WIN Patron and Editorial Advisor

 

REMEMBERING DAVID MUNGOSHI

 

With Rumbi Katedza in 2015 at the book launch of Textures, Harare

From left: David Mungoshi, publisher Jane Morris and Memory Chirere enjoying a chat at the book launch

With Memory Chirere (left), Emmanuel Kuyeri (standing, a WIN member) at a Writers International Network Zimbabwe (WIN) event in 2010

At the Zimbabwe Writers Association 2014 literary evening

 

TRIBUTES

 

 David Mungoshi: The Perfectionist Editor

By Beaven Tapureta

 

Although David Mungoshi, who died on August 29, 2020, will be remembered as an academic, columnist and writer with much of his excellence in poetry attracting the spotlight, very few knew about the accomplished editor he also was.  

Any person who has been following Zimbabwean literary output of the past five or four years would agree that a large number of books passed through David Mungoshi’s hands.

In editing circles, there is what they call correspondence, that is, the bulk of the letters and telephone chats exchanged between author and editor. It has become an exciting adventure for some big publishers to dig up from the archives and legally publish collections of these author-editor/publisher correspondences. In the letters or the chats, there is a great lot to learn about the writers’ and editors’ attitudes, biases, etc.

Modern technology may seem to have improved communication but it is sad that much goes un-recorded over a telephone call between author and publisher. A record of comments and assessments by an editor are a helpful future reference point for the author while the author’s reactions or responses could help as a valuable source of literary information.

In Zimbabwe, when the communication between the late great writer Dambudzo Marechera and his editors/publishers found their way into the public arena via biography, new perceptions of Marechera’s character were inspired.

Who then was David Mungoshi the editor? Surely, lessons abound from his editorial activities when he was often engaged by Zimbabwean writers and publishers.

In different interviews, the writers he worked with on certain projects harbor diverse memories of the book doctor whose name  appeared in various books prefixed with ‘edited by’ or ‘foreword by’ or in the acknowledgements.

Words like ‘humble’, ‘perfectionist’, ‘excellent’, echo in the tributes to David Mungoshi.

Writer Tsitsi Nomsa Ngwenya has fond memories of the relationship he had with David Mungoshi as they worked on her new novel Portrait of Emlanjeni. She says wide reading is one of the habits she learnt from him.

“I remember David Mungoshi as someone who respected other people. Rich, poor, young and old. He took time to listen and understand and encourage others. 'Waiting is a form of death' is a phrase by him I use till today. He was an excellent editor who read widely. Whilst editing my work, he would challenge me to read such and such a book so that I may possibly understand his corrections. I did that and never regretted,” said Ngwenya.

As they worked together, David Mungoshi enlightened Ngwenya; she realized editing is more than correcting grammatical errors but it involves understanding places, cultures, histories, and other contextual matter. Ngwenya’s new novel Portrait of Emlanjeni draws its background from the Ndebele culture and Mungoshi’s articulate knowledge about culture amazed her.

“He edited my coming novel Portrait of Emlanjeni. I love the book even more now. The story is culturally located in a Ndebele community but David Mungoshi could also correct some cultural aspects I made mistakes in. I was greatly inspired by his humility and easy going nature,” Ngwenya said.

She says in 2017 her collection of short stories titled The Fifty Rand Note was published but it had many errors. The following year, Mungoshi offered to edit the book and he did it so well.

Publisher Jane Morris (AmaBooks) echoed Ngwenya’s acknowledgement of David Mungoshi’s humble nature. Apart from meeting him at the book fairs in Harare, one of the moments Jane remembers meeting the humble man is the day when Amabooks officially launched Togara Muzanenhamo’s Textures in Harare in 2015.

“It was a shock and very sad to hear of David’s death last week. He was always very supportive and encouraging and impressed as a humble man,” said Jane.

The friendship between David Mungoshi and other writers may also have been enhanced by the academia to which they belonged as lecturers. Yet beyond lecturing, they worked together in certain literary projects through which they complemented each other’s skills.

Memory Chirere, a fellow university lecturer, writer, editor said, “He was a perfectionist. He would worry until he found the most appropriate word for any item.”

If one believes that God sends ambassadors in our lives to help us move through certain phases, then David Mungoshi was one such ambassador whose literary footmarks will influence the new writers.

In 2017, he was engaged as editor by South Africa-based Zimbabwean poet Catherine Magodo Mutukwa for her poetry collection titled Rendition of the Soul.

Her experience with David Mungoshi made her understand there are people who give their expertise voluntarily like passionate mentors. These are ‘the life teachers’ appearing at certain stages in our careers and Magodo thinks her 2017 editor changed something in the way she writes.

“There are always those kinds of 'special people' who for a brief moment become part of your life and they make an impact and then sadly, they exit quietly. David, (here I pause...) was one such person. He took me under his wings and he taught me a lot. I remember, almost every time when I posted a poem on Facebook, his message tone would sound on my phone with what he termed 'constructive criticism', and his expert message meant to do me no harm but to grow me... "Cathy, don't write banal words like 'thy', they take away the reflective aspect of the poem..." His voice (with a hint of humour) would boom from the other end of the line. It will take a while to get used to the fact that I won't be able to send him my work for 'approval' or just to bounce off ideas. Those who've had the opportunity to know David will testify that indeed he was a talented man generous with his expertise; there was never a dull moment with this great guy and I feel blessed to have known him,” Magodo said.

The same year of 2017, David Mungoshi was also approached by writer Shepherd Mutamba to edit and do a Foreword for his second edition of Tuku Backstage, a biography of the late Dr Oliver Mtukudzi who undoubtedly was an international musical figure. The book was published in 2018. Mutamba must have discovered the great editor and the voice reverberating in the Foreword that he decided to surrender the whole of his next project – a poetry collection titled Dobhadobha: A Book Without Margins – to the book doctor for editing.

“"David Mungoshi edited two of my books, a biography Tuku Backstage (second edition 2018) and a picture-poetry anthology Dobhadobha: A Book Without Margins (2019). I don’t search far and wide for the apt description of Mungoshi's work as an editor. David Mungoshi was to editing what George 'Mastermind' Shaya was to football. He had extraordinary skills that just a few editors could match. He turned unnecessarily complicated manuscripts into simply sophisticated manuscripts and to me that’s the hallmark of editing,'" said Shepherd Mutamba.

And indeed, Tuku Backstage (Second Edition) speaks of a wonderful hand of a careful editor.

The seasons may come and go but the gap David Mungoshi has left in the local writing community will be hard to fill. His life, to use his own words in his poem ‘The Green Door’ (in his poetry collection ‘Live Like An Artist’), is “such a story you will not find/ In these days of money and pretence.”

  

A Season of Grief

By Catherine Magodo Mutukwa


The late David Mungoshi

 

Tell me,

What it is like, on the other side…

Where the stream of consciousness

Ceases to flow and silence ensues

Where thoughts of shared joy and sorrow,

Song and verse are carefully tucked away in memory

Burying it all in a sandy heap

Where ‘nothing’ reigns & everything is forgotten

And you

Into ‘The Fading Sun’ you disappear

Leaving behind a trail of blank verse, whispering…

‘I Don’t Know Why She Weeps’

And I, torn,

Turn to look at the weeping Willow

‘A Moment of Clarity’

I realize, I too, like it, am spent and bent in deep mournfulness

Teacher, ah Teacher,

Who will teach me now

More about the sonnets, ballads and rhyme with such passion?

God forbid, if I should

‘Begin To Forget’

All the things you did that exalt you

Now that your evening has come

And you have gone away to become  one with the night

I know, the midnight-hour still listens for the sound of your writing

Unaware that the master has packed away his notepad and pen,

Leaving behind some poems half-written,

‘2am’s are for the Poets obsessed with unmatched creativity!’

You used to say

And that ‘sometimes few words are enough.’

 

Memories From Mutare

By Simbarashe Kavenga

 

David Mungoshi's death came as a surprise hard blow to us his fellow artists. The humble giant took his rest on the night of August 29. He followed his brother Charles who took his rest last year in March. David played his part in the arts field leaving so many fruits that people in the world and Zimbabwe in particular will enjoy for many years to come.

I first met Mr David Mungoshi in 2010 at the NAMA awards when his book The Fading Sun was judged as the best. Since then, we would meet at the book fairs and literary workshops. He was a man full of jokes and also a father-like figure to us the younger generation of writers.

My friend Pension Madzikangawa, a published author and a resident of Mutare described Mungoshi as an icon in the literary industry.

“Mr. Mungoshi was not an ordinary author; he was an author par excellence. An author cut from the finest cloth of literally arts. He was one of the leading lights in the industry, one of the torchbearers. An icon whom many looked up to for guidance and counselling. He fought a good fight and left an indelible mark in the industry. Although he has passed on, what he penned will forever live among us. His legacy will surely live on. His pen will continue to inspire us. May his soul rest in peace,” he said.

That's how inspirational Mr Mungoshi David was to many fellow writers. As he takes his deserved rest we salute this great writer born from a family of artists. As parting shot, I say:

 

You came blessed in poetic verses

To the poor world

And you enriched it with your words full of wisdom.

A rest you deserve for great man taste not death.

Fambai zvakanaka Manhize.

 

 Unganyorei Nekunyora

(Kuna David Mungoshi)

Na Tinashe Muchuri


 Ndangoti ndiseke sekuseka kuya kwamasahwira. Zvichida havaisavaziva Musimuvi, kunyora kunotoda vakatandara naye Manhize Chikapakapa, kana usina kumbonzwa rungano rwatateguru wake Samambwa, kanavo kuravavo zvezviroto zvakaputsika, kanapo zvemadororodzi pachidziro, kana zvezuva ririkuwunuka kana zvekurarama semudavadi, unganyorei chokwadi pamusoro paDavid?

Asi kana wakambodhumana naChigango Musandireve, iye aikanga asingadi kurebhwa kahi! Kana kuti wakambomenya nzungu naye David kanhi, kana wakambovhunzwa kuti tipewo pawakawana zano nefungwa yawanyora apa, kana kumbodamwa padivi uchivudzwa masvisvinire emahwi eChirungu, kana kuyeuchidzwa tsika nomugariro waVaShona, kana waMaNdebele, chokwadi unganyora zvinozadza pasi, nenyika igonyemwerera.

Kuzoti kana wakambofamba rwendo naDavid, kana kutsikinya migwagwa yedhorobha naDavid muchitaura zveunyorwa, zvenziyo, nezvekudetemba, haiwavo, haungashayi izwi rimwe zvaro rinodzvova zvine mutinhimira uzere sungawirirano pasi rigoziva, wakagona kugoka zano, wakagona chose kuita hwenherera panopangwa mwana wamambo. Tingatokutivozve makorokoto. Watizivisa kuti David aiva munyori anodzamisa fungwa achinonota zviito zvisina maturo mumana nhaiwe zvako iwe. David aituka zvekukakatirana zvamarudzi izvi achiKhuluma, kutaura and talk. David herevo, aive munyoro asi achifira kureva. Aisachengeta nhuna mumoyo. Aidzidura uripo kwete zvekuzokuseura gotsi wati pote. Sakei aive Chigango Musandirevezve, ungakanga ukasahwikwa kuti wakanga here,  kunhuhwirira kana rutsvo rwezvakangwa rwosvasvanhira miro dzavavakidzani nevapfuurinanzira!

Chiregai ndisiye pano asi regai nditi taikurukura mukati mehusiku kwemaawa nemaawa achigadzira zvinyogwa zvavadzidzi, zvinyogwa zvavanyori. Nhasi, mhute yatiza zuva. Asi kusiyana nemhute, David akasiya vana vake vachagara vachikurukura nesu, nendudzi dzinouya. Zvinyogwa zvaakasiya hazvisi chingamu kwete, kana matobhwe anopera panotapira, ishugamutape, kutanga nekupera zvichisekenyedza pfungwa.

 

 ZIBF 2020 POSTPONED

 

ZIBF 2020 Theme: “Book Industry: The Dynamics Within”

  

Flashback: Bryon Rheam, author of ‘This September Sun’, enjoying the 2016 ZIBF Indaba with other delegates

 

 Dear Stakeholder,

 

We give this statement on behalf of the Zimbabwe International Book Fair Association (ZIBFA) General Council and the Executive Board.  As to our indication earlier in March, when Zimbabwe went in the first COVID - 19 lockdown, that this year was bound to be challenging for our 2020 scheduled activities envisaged by the pandemic global trends, we regret that because of the dearly COVID - 19 pandemic which is on the upward trend we are unable to hold the usual annual Provincial Book Fairs, the Main Book Fair (Harare) and the Indaba Conference.

We hold paramount our valued multivarious stakeholders, partners, learners and the general public, hence, our decision to support the strategy in mitigating the spread of the pandemic.

We however, resolved to continue work safely from behind the scenes to put together a journal on the previous ZIBF Indaba conference proceedings and also to anchor various symposiums online to tackle issues pertinent to the book industry by November 2020. We take this too, as an opportunity to rethink and reflect on the path we have to take in the fast changing times.

ZIBF wishes you good health.

 

Yours sincerely

 

Mr Memory Chirere

Executive Board Chair, The Zimbabwe International Book Fair Association

 

For more information, contact: events@zibfa.org.zw

 

 ‘FOOTPRINTS IN THE MIST OF TIME’

  

Spiwe N. Mahachi-Harper


Fairfield Press of Middlesbrough is pleased to be reissuing Footprints In The Mists Of Time, a novel by Zimbabwean-British author, Spiwe N. Mahachi-Harper. This is a story of migration, heritage, identity and belonging, a story that begins at the turn of the 20th century as four young men set out from their village in the British protectorate of Nyasaland (now the Republic of Malawi) to seek their fortunes in the mines of South Africa. However, a stopover in the British Crown Colony of Southern Rhodesia (now the Republic of Zimbabwe) becomes settlement, and the arduous struggle to settle in a new land begins. Footprints In The Mists Of Time makes compelling reading, not least because unlike most other literature about migration and identity, it focuses on the uprooting and transplanting of one African culture into the space of another. 


"This is going to be an important novel for Zimbabwean literature. Zimbabwean fiction rarely puts the migrant and his offspring at the centre of the narrative. But here is a novel written from their point of view."- Memory Chirere, The Herald, 2013


Footprints In The Mists Of Time was first published in 2013 by Abba Press, to critical acclaim, and was nominated for awards in both the UK and Zimbabwe. Available right now in both print and digital editions at the stores listed below, and many others. A limited pile of copies is available to reviewers and journalists on request. Orders from libraries and independent bookstores are also welcome.

For readers in the UK, one way of obtaining and sharing a copy for free is to ask for Footprints In The Mists Of Time at your local library!

Contact: prime@fairfieldpress.uk

 

OPPORTUNITY FOR WRITERS

  

THE SILLERMAN FIRST BOOK PRIZE FOR AFRICAN POETRY

 The Sillerman First Book Prize for African Poetry is awarded annually to an African poet who has not yet published a collection of poetry. The winner receives USD $1000 and book publication through the University of Nebraska Press and Amalion Press in Senegal.

The African Poetry Book Fund Editorial Board, including Kwame Dawes, Chris Abani, Matthew Shenoda, John Keene, Gabeba Baderoon, Bernardine Evaristo, Phillippa Yaa de Villiers, and Aracelis Girmay will judge.

A winner will be announced in early January, with notifications sent shortly thereafter.

 ELIGIBILITY

 The Sillerman First Book Prize for African Poets will only accept “first book” submissions from African writers who have not published a book-length poetry collection. This includes self-published books if they were sold online, in stores, or at readings. Writers who have edited and published an anthology or a similar collection of other writers’ work remain eligible.

An “African writer” is taken to mean someone who was born in Africa, who is a national or resident of an African country, or whose parents are African.

Only poetry submissions in English can be considered. Work translated from another language to English is accepted, but a percentage of the prize will be awarded to the translator.

No past or present paid employees of the University of Nebraska Press or Amalion Press, or current faculty, students, or employees at the University of Nebraska, are eligible for the prizes.

 WHEN TO SEND

 The 2019 Prize is currently open to submissions. Manuscripts are accepted annually between September 15 and December 1st.

 MANUSCRIPT

 No entry fee is required to submit to the contest.

Poetry manuscripts should be at least 50 pages long.

The author’s name should not appear on the manuscript. All entries will be read anonymously. Please include a cover page listing only the title of the manuscript (not the author’s name, address, telephone number, or email address). An acknowledgements page listing the publication history of individual poems may be included, if desired. No application forms are necessary. Eligible writers may submit more than one manuscript.

While we have no specific formatting rules, we suggest sending your manuscript in Times New Roman or Arial, 12 point font, single-spaced. We also prefer one poem per page, meaning a new poem does not begin on the same page on which another ends.

The Sillerman First Book Prize for African Poets accepts electronic submissions ONLY.

 Click Here.

 

THE YOUTH PERSPECTIVE

With


Mimi Machakaire

 

The world is experiencing a pandemic, the dreaded COVID-19. Some parts of the world are still under lockdown. However, there are many others who have recovered and are slowly returning to their normal lifestyles. While some families are still enduring the economic effects of COVID-19,  we cannot forget those who are unable to speak for themselves. There remains one question, how are the vulnerable coping in abusive families?

There are a lot of factors at play during COVID-19 restrictions. More and more parents have to do home-school and/or work from home  at the same time. This kind of activity can take a toll on anyone’s stress levels, especially  those parents who have a tendency to take out their stress on their children without realizing what they’re doing. This happens and they stop  only when they see their child crying out of sadness for their actions. Then we have those parents who are actively abusing their children, taking advantage of the situation that the children cannot go outdoors as much as anyone used to in the past.

All over the world adults and children have been quarantined for months with people who hurt them. So who is the most vulnerable in the homes of abusive families?  Stress, the disruption of social and protective networks, loss of income and decreased access to services all can intensify the risk of violence for women and children everywhere.

In many countries, where people are encouraged or required to stay at home, the risk of intimate partner violence is likely to increase. In addition, access to sexual and reproductive health services will likely become more limited. Moreso, services such as hotlines, crisis centres, shelters, legal aid, and protection services may also be reduced. This has made it difficult for some women and children to access the few sources of help that would usually be available. 

In China, a Beijing-based NGO dedicated to combating violence against women and to fight for equality has seen a flood in calls to its help line since early February. This happened when the government locked down cities in Hubei Province, then the outbreak’s epicentre.

Stigma related to COVID-19 has left some children more vulnerable to violence and psychosocial distress. At the same time, control measures that do not account for the gender-specific needs and vulnerabilities of women and girls may also increase their risk of sexual exploitation, abuse and child marriage. Recent subjective evidence from China, for instance, points to a significant rise in cases of domestic violence against women and girls.

The youngest children are the most vulnerable to maltreatment (more than one-quarter of victims are below age three (US Department of Health and Human Services 2018).

While for many families the situation has meant isolation and monotony, for those who live with their abusers it has been a nightmare. Under COVID-19 social-distancing protocols, the worst-case scenario for people who live with an abuser has more or less materialized. Social workers, lawyers, and advocates have had to rapidly adjust their services in order to help domestic and child abuse victims, those trapped inside their homes with their abusers.

COVID-19 is changing family dynamics in ways that threaten to put already vulnerable children at increased risk of abuse and neglect. Worldwide, child welfare organizations warn that the COVID-19 lockdown measures will increase cases of child maltreatment (e.g. UNICEF 2020), which includes the sexual, physical, and emotional abuse and neglect of any person under 18 years old.

According to UNICEF there is a need for governments to ensure the safety and wellbeing of children amidst the intensifying socio-economic fallout from the disease. The UN children’s agency, together with its partners at the Alliance for Child Protection in Humanitarian Action, has released a set of guidance to support authorities and organizations involved in the response. 

In a matter of months, COVID-19 has turned over the lives of children and families across the globe. When services are restricted and we are all being advised to stay home, what will happen to those who have no access to anything of the outside world?

Those who are living in remote villages? We have all heard those stories especially from young girls, that uncle so and so would have touched her inappropriately, yet some members of the family would have turned a blind eye out of fear that the family name would be disgraced.

Now during a global pandemic, if countries are experiencing a rise in domestic violence, what will become of Africa?

South Africa has been on state lockdown since midnight of 26 March 2020. This is due to the government’s attempt to curb the spread of the coronavirus and legally mandate South Africans to “stay home”. Yet, for some women and children, home is a dangerous place. Domestic violence is increasing across the globe, South Africa being no exception.

In September 2019, the nation united, protesting violence against women and children. Before the COVID-19 pandemic, domestic violence in South Africa was already alarmingly prevalent. In the first week of the lockdown, Police Minister Bheki Cele had stated on multiple reports that police had received more than 87,000 gender-based complaints. Forcing perpetrators and survivors to stay in the same physical confines has caused incidents of domestic violence and abuse to increase in number, frequency and intensity.

As someone who is part of the youth community, it more than worries me when I witness stories of sexual abuse, verbal, emotional or any form of physical harassment in the household especially among minors at the hands of their own parents. The elders are the ones who are supposed to be protecting the youth and guiding them into better lives for themselves yet some are the ones who hurt the youth in the end. It is sickening to hear stories of father’s raping their children or mothers hitting their children as a form of discipline. Yes, while it is important to discipline children, there are other ways to do that but some parents are taking things too far!

 

  TAMUTSWA'S POWERFUL PEN DANCES AND DAZZLES

By Edwin Msipa aka Black Mampara



Tamutswa Muzana

 

The spirit of the early writers is being rekindled today on social media by many male and female poets of today but the rising educationist, banker and lawyer, poet Muzana Tamutswa's prowess is second to none. How he balances this act of writing and his ever busy schedule in the courts of justice is anybody's wonder!

 "I have shelved the writing of novels and thus have taken up poetry. I work during the day and write at night," he said. The evergreen Tamutswa sends in one or two well-thought out Shona poems on a daily basis on various  Writers Whatsapp Groups with Writers International Network Zimbabwe (WINZIM) and Essential Books Publishing Company being his first port of calls.

Talking of the social media exploits, a Facebook page called 263 Nhetembo was initiated in 2014 and had 17 lively poets who were led by motivational speaker cum poet Rabison Shumba. The page is also credited as one of the most successful Shona (nhetembo) poetry projects to be done on Facebook. It succeeded in publishing an anthology, Dzinonyandura: Svinga Renduri in December 2014, which was nominated at the National Arts Merit Awards as one of the best fiction produced among the 2015 works. It became a Shona Advanced Level Nhetembo Setbook for the period 2016-2017.

The trend has become common. Books are now being churned out in that manner: Meeting publishers and writers on social media and getting published without even meeting physically. Social media is reducing the costs of travelling to publishers.

Just like Hamutyinei who went on to write a lot of poems, plays and novels that still stand out among those that make the face of Shona literature in Zimbabwe, Muzana's works promise to continue from where Hamutyinei left.

Just like Ndabezinhle Sigogo who is regarded as the godfather and the face of Ndebele literature, Tamutswa is following footsteps in writing about what he sees in his people. According to Pathisa Nyathi, Sigogo, who frequented shebeens to learn a lot about his people in Bulawayo lived during the colonial era where the colour bar was the order of the day. Even though Tamutswa may not have met Hamutyinei in person, the writer seems to be happy to have read great classical and timeless masterpieces which are inspiring him and many writers of today.

Sadly, studying Shona and Ndebele Literature at Ordinary and Advanced Levels in Zimbabwe is no longer compulsory, making it difficult for indigenous language books to be taken seriously at a time the nation is grappling to preserve the official fifteen languages.

 Born in Buhera in 1977 and grew up as a single orphan after his beloved father passed on in the mid- 80s, Muzana was privileged to have an informed mother.

"She encouraged me to write as I usually read her my stories," he said.

Muzana also hails the exploits of Mr Muridzi, his Grade 6 teacher at St Michaels Mambo Primary School in Buhera for identifying his writing potential.

"I was very good in my mother language, Chishona. I wrote two novel manuscripts 'Zingizi Gonya' and 'Musiiwa'!"

He said, "I write mostly Shona poems which tackle various themes. They convey the spirit of African Ubuntu and are aimed at titillating the modern   generation so that they learn our values."

 And true to his words, his poems mirror what an upright African society should be like.

"I convey tenets of African Ubuntu, teaching the old time concepts of hard work, bravery and being good to one's neighbour."

In one of his masterpieces, "Wedzerai moto", posted in the WINZIM WhatsApp group, Muzana's unwavering voice, like an injection, releases its medicine into the readers' hearts:

 Kana maribvonga

Musakanganwa vasina meno

Imi mungava nawo ose makumi matatu nemaviri

Musina kana rimwe rine mhango

Asi yeukai vamwe

Kunyanya pachisevo!

 In this piece, Muzana the ‘village boy’ who used to get wise counsel from his rural neighbours, grandparents and at the dare,  shows that he is a man who comes from a cultured people. He encourages all to take care of the weak and needy. Tolerance, respect, unity, love are themes he explores most and seem to fill his poetry bag. His works seem to have a background drawn from his village in Buhera, near Dorowa Mine.

In his other recent piece, Muzana makes a clarion call for the nation to respect the fallen and living heroes(heroines) as well as to work hard in all sectors of the economy for Zimbabwe to grow:

 Musarega chitanda chatakatakudzwa chichiwora

Vakamhanya nacho vana Mukoma Tongo (Josiah Magama Tongogara)

Naivo vana Sisi Teurayi (Joyce Mujuru

Nhasi Zimbabwe iri kutsvaka mhare

Mhare mune zvekurima

 Muzana has featured in Mafuro Manyoro (2017), Chitubu Chenduri, Tipindewo Mudariro, Chainga Chenduri, Maungira eNhetembo, Mukoko weNyuchi, among others.

 

MABHUKU EDU/OUR BOOKS

With

Prosper Njeke

  How are you readers and writers? This time I bring you an interview I recently did with Kudzaishe Manyika, 18 year old multi-talented writer who lives in Chiweshe. Enjoy.

Kudzaishe Manyika

 

Q:        I have noticed that you're a multi-talented young woman in the arts industry. Besides writing, what else do you do in arts?

A:        Besides writing, I also do music, that is, writing songs and singing. I also play the guitar instrument.  I am a young actress in dramas, movies, etc.

Q:        How many songs have you recorded so far?

A:        I have recorded three singles & the recent one is entitled ' Life'. I have got an album coming in a couple of weeks.

Q:        Great. You mentioned that you're an actress. Tell us, in which dramas or movies have you appeared?

A:        We are still working on a series of dramas which we hope to finish soon. I have taken part in a video on Chiranganyika's track named “Kudza Baba Naamai.”

Q:        Well done. As a lower six student how do you balance your school work and art?

A:        Actually, I always occupy myself during my free time. Every free time I am given I spare it for the Industry. As for school work I go for it in class and evening time, however, I got a time table so as to manage it both wisely.

Q:        Wonderful. At your school, is it known that you are an author, musician and an actress? If so, how do you feel to be known by all the students?

A:        Yes, it's known. I even submit some of my stuff to my school headmaster and he quite enjoyed what I wrote. Definitely, about how I feel now, I can describe  it this way, it's really encouraging  to see that the knowledge in my works is benefitting other people.

Q:        How many books have you written?

A:        So far I have four finished ones, and the other two are still incomplete.

Q:        Good. May you tell us the titles of your books? Where are they found?

A:        My books are Sister Holy, Mambokadzi Zvanyadza, Munhu WaMwari and Twin Brothers. Also Zvichazodii & Complicated to be finished soon.  I am currently processing how to put them on sale but I got one for free.

Q:        Do you publish with publishing companies or you're an online author?

A:        I am flexible, I use both online platforms and publishing companies. Publishing and visibility is still a challenge.

Q:        May you name any three young and three elderly Zimbabwean writers you admire and your favourite books which they wrote?

A:        Among the young writers, I admire Chidhuza Rumbidzai who wrote Chakaipa Hachina Pundutso, she is the only one I can mention as of now. As for the elders, George Mujajati and his book  The Sun Will Raise Again. Also Shimmer Chinodya and  The Harvest of Thorns.  I also like the book Sajeni Chimedza.

Q:        That is great. What about your favorite musicians and actors?

A:        My favorite musicians are Minister Mahendere, Silvestor Chizanga, not forgetting Christopher Martin and Madam Boss in the acting world.

Q:        Awesome. Any words of wisdom to fellow young Zimbabwean writers?

A:        Thank you. As a young writer never you feel like leaving it just because you're young or anything like that. You can do it, never let it die, it's never too late. You're the right person as long as you got the right mind to do good.

Q:        Thank you for your time Kudzaishe. I wish you the best in the world of writing.

A:        Thank you.

 

 CHILDREN’S LITERATURE IN ZIMBABWE

With

Aleck Kaposa

 

 Panic At The Big Shop

 

 

Sasa and Fafa were excited to be going out for shopping with their mother after three long weeks behind closed doors, since the lockdown had begun. Everyone everywhere was frightened about the terrible coronavirus disease that had killed thousands of people in many places around the world.

Now government had allowed people to go out of their homes for a few hours to buy essential things but with a strict warning to always sanitize and adhere to the strict social distancing regulations.  

“Mother says that we’re going out for shopping today!” Sasa said excitedly to her younger sister.

“I am excited about it girl!” Fafa exclaimed in agreement, her face beaming as the rising sun. “I am excited just as I was on that day when we travelled from Harare to Mutare on the Big Yellow Train.”

“Oh, yes,” Sasa said, “That was a pleasant journey by train.”

In a short time the two girls and their mother, with their face masks on, made their way to Katanga shops, a few hundred metres away from Ngoni suburb. On the way, they saw several people sheepishly coming out of their houses, into the dusty streets littered with dry, yellow and brown tree leaves and papers. It all felt like the end of a long war.

The two girls were surprised to find the long stretch of the tarred but much-potholed road to the shops almost empty, with only one, ancient, blue majecha truck droning noisily as it trundled lonely, like a lost, horse-drawn wagon in a desert.

At last they got to the shops and saw a long and winding queue of dozens of shoppers standing one metre away from each other and all wearing face masks. Above the wide entrance to the big, redbrick shop with big, red letters that read AK SUPERMARKET stood three security guards with thick, black baton sticks and two men, one with a pistol-like thermometer, checking people’s body temperature and another one spraying liquid sanitizer on the palms before they were allowed in. The queue stretched a long way to the back of the shop, like a multi-coloured snake. The two sisters and their mother immediately joined the queue as it moved sluggishly towards the entrance.

At last they reached the front and just as they were about to be sanitized, a man behind them sporting a sky-blue work suit with reflectors and a matching face mask, sneezed, fell to the ground and his whole body started convulsing.

“He has got coronavirus!” shouted a young woman wearing a pair of black skin jeans, tearing herself from the queue.

“Yes, this man has got coronavirus!” one man yelled and ran into the shop. Dozens of people followed him. The guards tried to block the people with a wall of the many red trolleys but the people jumped over them and filled the shop, kicking the hand washing buckets and spilling the water inside. Some people fell to the ground. Everywhere people were running, some trying to get out of the shop, knocking into each other and screaming “Mhaiwe-e kanhi coronavirus yauya.

“It’s clear, from the way that man sneezed and fell that he has got COVID-19 disease,” one of the guards at the gate said, like an apostolic preacher preaching at a roadside masowe but by now nobody seemed to pay attention to him.

Finally the shop manager and some eight men, riot police and armed soldiers, as well as nurses wearing personal protective equipment that included glass shields, appeared from outside the shop and started ordering the people to practise social distance and not gather in huge numbers like ants.

“Oh it’s Garikai,” the manager exclaimed on seeing the man whose legs were jerking like the tail of a lizard that has been cut.

“Garikai does not have the coronavirus at all. He suffers from epilepsy and does this every now and again. Please let us disperse and give him some fresh air as the nurses attend to him.”

Slowly the situation at the shop started returning to normal. Sasa, Fafa and their mother bought what they wanted and quickly went back home.

 

 

  

NGATINYOREYI


Na Tinashe Muchuri

 

 

  

Linda Gabriel aka The Poetic Angel at PaMapfihwa kwa Zvimba kwaanoitira basa rake rekurima nenzira yepermaculture

 

 

Rambotemwa Dancers and Chief Mazvihwa

 


 
Phillip Kusasa ari panhondo dzeMukamba uyo unozivikanwa neChirumbi kuti mahogany tree ari pasango rePaiyapo Arts Centre, Bangira Village kwaMutape Musikavanhu

 

 Tisangane zvekare mumwedzi wepfumvudza, mwedzi wekubuira kwemashizha uye uriwo mwedzi vamwe vanenge vari bishi kuita mabira, kusasanura minda mitsva nekukuhuna makwenzi muminda  mumakura avo. Vapwere rinenge riri jakafiri kumakura kutamba mitambo yakasiyana-siyana. Tisakanganwa mirau yechirwere cheCOVID-19 iyo isingatitenderi kuungana uye kuita mitambo ingatipinza munjodzi nechirwere ichi.

Zvakadero, vanyori tine basa guru. Nhasi ndaringa-ringa ndichitarisa matunhu, ndichitsvaka mabasa anoitwa navanyori mundima yekuchengetedza tsika namagariro. Vanyori vachengetedzi vehunhu neumunhu kuburikidza nekunyora maringe netsika dzedu savanhu. Mukuringa-ringa mumatunhu ndakasangana nevanduri venduri vari kuita nabasa anofadza chose ayo atichataura nezvawo muchikamu chino.

Zvinozivikanwa kuti muripo webasa ravanduri venduri mudiki chose uyo wopamhidzirwa kudzikiswa nekuda kwenhusvuri dzinoba basa ravadavadi ava pasina cheuviri chinokohewa nedikita ravo. Senzira yekuwana zvingavaponesa ivo nenharaunda dzavo vanduri venduri ava vari kuita mabasa ekuchengetedza nharaunda dzavo.

Linda Gabriel uyo anozivikanwa nezita rekundura nduri rekuti Poetic Angel anoti iye akafunga zvekutaraukira kunzvimbo yekwaZvimba uko akawana ndima yekurima achishandisa nzira dzisinganyanyoshandisi mafotereza nemishonga yekuuraya udyi nezvirwere inonzi permaculture.

Achitaura nemunyori uno nepaWhatsApp Gabriel akati,

"Ndakaona iri nzira iri nyore mukuti vanhu havazoshandisa mari yakawanda pakutenga mishonga nefotereza zvekushandisa pakurima."

Gabriel akaenderera achiti mhando iyi inoumbiridza utano hweivhu izvo zvinoita kuti hutano hweivhu huvandudzike nekuchengetedzeka.

“Mafotereza nemishonga yekuuraya masoro neudyi yakawanda yacho inobetsera pakuparadza utano hweivhu, zvipukanana nekudyidzana pamwe nekugarisana kwevanhu, zvipukanana nenharaunda, nekudaro nzira yekurima yepermaculture, inzira inoshandisa zvinhu zviri munharaunda zvatinowana pamusiwo yedu zvakaita semupfudze wemombe kana manyowa ekombositi uyewo kurima zvirimwa nenzira inodzinga udyi pasina kushandisa mishonga,”akadero Gabriel.

Nekune rumwe rutivi umwe munduri wenduri anogara pamwe nokushandira kwaMazvihwa kudunhu reZvishavane, Emmanuel Mhike uyo anonyanyozivikanwa nerekuti Manu wekwaFish, uko anoita mabhindauko ekudzoreredza masango nekuvakurudza nharaunda akati,

“Ndiri kushanda nemadancers, Mazvihwa Traditional dancers neRambote Imwa Protection committee kuedza kudzoredzera sango redu rinoyera rekwaMazvihwa rinonzi 'Rambotemwa.'”

Mhike akati akatangidza kuita basa iri kubva mugore  2015 achitsigirwa nesangano rakazvimirira roga reMuonde Trust.

Akaendererawo achiti, “MuCovid lockdown umu tanyatsowana nguva yekudiridza miti yedu nekuyivikira uye tava ne500 miti yemusango yatobata apo ndichishanda zvakare namadzimai paMuonde Agro-ecological center kuedza kudzosa masango neyatinoti  Analog Forestry.

Akatsanangurawo achiti, “Madzimai anosima miti yakataraukana nechiero chemamita matanhatu (6m) vorima nyemba pakati kana dzimwewo mbesa dzinouyisa kudya kuvanhu nekuivhu, yatinoiti Double nourishment.

Pamusoro peizvi Mhike anoti anoshanda pamwe nevechidiki venharaunda yeko vanodaidzwa kunzi "MaWard Youth officers in Arts, Youths and Culture" kuMuonde Trust kuedza kupedza dambudziko rekukorokoza kusina kurongeka iko kwekare kuZvishavane.

"Iyi inzira yekupedza makakatanwa ane mhirizhonga mukati ekutemana nemanhemba kwezvikwata zvamakorokoza nekudaro tine nzvimbo dzakarongeka uko makorokoza ane mvumo yekuita mabasa awo nekuti takati ngatisiyei tsika ye"topo siye, topo siye.'

Kubva mumana raBangira kuChikore uko kwaMutape Musikavanhu kune dhodha riri kuita mishando yomene yekuvangarira kuchengetedza nharaunda uko ari kuita basa rekusima mikamba iya inonzi "mahogany". Dhodha iri rinonzi Phillip Kusasa anove mudzidzi paMafumhe Secondary School uye ari mutungari wePaiyapo Arts Centre iyo inokotsvera hurongwa hweNdau Festival of the Arts (NDAFA) uhwo hune ngari yekuchengetedza mitambe yeChiNdau pamwepo netsika namagarire aVaNdau.

“Pari zvino ndiri kusime mimbiti yemahogany yatinode kuti ive musango redu rePaiyapo uye ndode kuone kuti zvingatisvitse papi.”

Akawedzera achiti vanode kuona kuti Paiyapo Arts Centre ive ndiyo nheyo nemuzinda weruzivo rwetsika namagariro aVaNdau.

Iro gore rino Paiyapo Arts Centre vakawane mari kubva kuCulture Fund of Zimbabwe yekuchengetedza mutambo weMadanda uyo unonyanye kutambwa nemadzimai ayo anosutswa nemweya yenjuzu.

Izvi zvose zviri kuitwa senzira yavanduri venduri yekuchengetedza tsika namagariro munova ndimo munobva zvinyorwa izvo zvinozodzorerwa kuvanhu senzira yamabhuku, mafirimu namabuku akawanda chose.

Gabriel anoti pane kungotaura nezvematambudziko emadzimai muzvinyorwa zvake iye zvino zvavandudzika sezvo ave kutaura nezvemabhindauko anopedza matambudziko aya kuburikidza nekurima kwaari kuita uko anoti kunorapa, kusimbisa muviri pamwe nekupa hupfumi uhwo hunoita kuti agozowana kunyora nduri akasungunuka  asingatyi nzara.

“Pandinoona mbesanwa dzangu dzichimera, ndichidzisakurira dzichikura, kusvika pakukohwa ndinenge ndichiona munyori ari kuumba rungano rwake kubva mukurima, achitura zano, kuripfaura-pfaura mapazi aya anoritadzisa kuti rive zano rakanaka sekupepetwa kunoitwa chinyorwa kusvika chasvika pakuti chaibva kuti chichiverengwa navanhu.”

Mhike anotsinhirawo achiti, “Sevanhu vari munguva yeCOVID-19 iyi inoda vanhu vasingaperegwi nekufunga zvekuita uye kuti tishandise hutesve hwekufunga zvakadzama savanyori kufunga mazano ezvese kurarama nekuchengetedza nharaunda.”

Izvi ndizvo zvimwe zvemhindu nenzira dzinoshandiswa nevadavadi kuedza kuchengetedza nharaunda nedzira dzezviito zvinonyora nyaya muhana idzo dzinonongedzereka.

Musakanganwa kuzvichengetedza kubva kuchirwere cheCOVID-19. Pfekai chiseketo nemwero wakafanira nemazvo, uye chengetedzai mukaha wemita imwe pakati penyu pamwe nekugesa nemvura inomamya nesipo kwemasekonzi makumi maviri kana kuzora muti unodzivirira kupararira kwehutachiona hweCOVID-19.

Dzamara tasangana zvekare muchikamu chinotevera. Zvichengetedzei pamwe nekuchengetedza vamwe. Tienderere nekunyora tiri vatano uye tichichengetedza utano hwevaverengi vedu.

 

 

 

 ***

 

THANK YOU FOR READING OUR NEWSLETTER.

 

The WIN Literary Newsletter is edited by the WIN Editorial Team and published on the blog monthly or bi-monthly by Writers International Network Zimbabwe (WIN). For more information, contact us: winzimbabwe@gmail.com

 

 

 

 

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